Word: garfunkels
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...quasi-religious revival is stirring in pop music. Three of the biggest hit singles of 1970 bow deeply to religion-Simon & Garfunkel's Bridge over Troubled Water, the Beatles' Let It Be, and Norman Greenbaum's Spirit in the Sky. Bob Dylan's latest album New Morning contains a new song. Three Angels, that chides everyday people for their indifference to God. Far and away the most ambitious pop venture into the Scriptures is a new English rock opera, Jesus Christ, Superstar, released last week in the U.S. on an 87-minute, two-LP album...
...sell in almost any field of music. Since taking over in 1965, he has radically changed Columbia's image. He switched the emphasis from Broadway show albums and the "easy-listening" music of Andre Kostelanetz and Mitch Miller to contemporary rock. Columbia already had Bob Dylan, Simon and Garfunkel and the Byrds under contract. Davis greatly expanded that list by adding such innovators as Janis Joplin, Laura Nyro, Santana, and Blood, Sweat and Tears. Rock moved from 15% of Columbia's volume in early 1967 to more than 50% now. Last year Columbia's domestic division...
...grief over the assassination of John Kennedy: "I suddenly realized that my concentration on acquiring material goods for my children had been a total waste of time." Soon Willens began worrying about pollution and the Bomb, watching new movies, and listening to the kids' records (Dylan, Ochs, Simon and Garfunkel), which seemed "awful" until he studied the words?youth's plaintive indictment of a nihilistic world...
...Tuesday I circulated a petition against the war in Viet Nam and later signed one against our local supermarket; on Thursday I listened to Simon and Garfunkel records while reading instructions for my self-cleaning oven; on Friday I read Dr. Spock's treatise on dissent in the morning, then checked his Infant and Child Care in the afternoon regarding the baby's rash; on Saturday night I discussed Soul on Ice with my baby sitter before going to a party where the only pot was the one my husband is developing...
Most of the film has the quality of dislocation. It is lit like a Wyeth painting and informed with the lunatic logic of Magritte. Only twice does it grow didactic. In an Italian whorehouse, 19-year-old Nately (Art Garfunkel) confronts a 107-year-old pimp. The scene is photographed narrative, almost word-for-word from the book's symbolic and simplistic confrontation: weary but supposedly immortal Italy v. vigorous but naive and supposedly doomed America. When the boy accuses the ancient of shameless opportunism, the centenarian defends himself with the ultimate weapon: age. "I'll be 20 in January...